This book offers an inquiry into the ways in which entertainment discourse extends beyond entertainment and its initial humorous function due to its political and ideological underpinnings. Rather than considering entertainment discourse as “just for fun”, this book justifies the importance of taking it seriously. Humorous features in entertainment discourses can trivialize some stereotypical moments, and, in doing so, encourage viewers to downplay the seriousness of the events they are watching. In other words, these stereotypical images are camouflaged and mitigated by the inclusion of humorous elements and imaginative images, which can lead the audience to perceive them as natural scenes that do not deserve criticism. Embedding banalities within entertainment discourses remains an effective strategy that drives the audience to laugh, meaning that they fail to detect the embedded ideologies regarding different cultures and identities. This confirms the fact that “small talk” can often become “big talk”.

Though modern readers no longer believe in the four humors of Galenic naturalism—blood, choler, melancholy, and phlegm—early modern thought found in these bodily fluids key to explaining human emotions and behavior. In Humoring the Body, Gail Kern Paster proposes a new way to read the emotions of the early modern stage so that contemporary readers may recover some of the historical particularity in early modern expressions of emotional self-experience. Using notions drawn from humoral medical theory to untangle passages from important moral treatises, medical texts, natural histories, and major plays of Shakespeare and his contemporaries, Paster identifies a historical phenomenology in the language of affect by reconciling the significance of the four humors as the language of embodied emotion. She urges modern readers to resist the influence of post-Cartesian abstraction and the disembodiment of human psychology lest they miss the body-mind connection that still existed for Shakespeare and his contemporaries and constrained them to think differently about how their emotions were embodied in a premodern world.

Contextualizing theoretical debates about the political uses of gendered humor and female excess, this book explores bold new ways in which a number of contemporary Latin American women authors approach questions of identity and community. The author examines the connections among strategic uses of humor, women's bodies, and resistance in works of fiction by Laura Esquivel, Ana Lydia Vega, Luisa Valenzuela, Armonía Somers, and Alicia Borinsky. She shows how the interarticulation of the comic and comic-grotesque vision with different types of excessive female bodies can result in new configurations of female subjectivity.

Silvio Gaggi's survey of the vast terrain of twentieth century arts and ideas is unique not only for its scope but also for the clarity and cohesiveness it brings to wide-ranging, seemingly disparate works. By identifying underlying epistemological, aesthetic, and ethical issues. Gaggi draws connections among such modern and postmodern masterpieces as Pirandello's and Brecht's theater, Fowles's and Barth's fiction, Warhol's paintings, Godard's and Bergman's films, and Derrida's literary theory. Modern/Postmodern begins with a discussion of the profound skepticism—about traditional beliefs and about our ability to know the self—that lies at the heart of both modernism and postmodernism. Gaggi identifies the modernist response to this doubt as the rejection of mimesis in favor of a purely formalistic or expressionistic art. The postmodern response, on the other hand, is above all to create art that is self-referential (concerned with art itself, the history of art, or its processes). Drawing from the work of Piranadello and Brecht, paradigms that can be applies to many different art works, Gaggi emphasizes how these works from diverse media relate to one another and what their relationships are to the contemporary artistic and philosophical climate. He concentrates on the works themselves, but examines theory as a parallel manifestation of the same obsessions that inform recent literature and art. Gaggi asks, finally, if self-referential art can also be politically and ethically engaged with the reality outside it. He concludes that the postmodern obsession with language, narrativity, and artifice is not necessarily a decadent indulgence but is, at its best, an honest inquiry into the problems, questions, and paradoxes of language. Modern/Postmodern is a lively approach to postmodern art that will interest all students and scholars of contemporary art and literature.

Practical reasoning is not just a matter of determining how to get what you want, but of working out what to want in the first place. In Practical Induction Elijah Millgram argues that experience plays a central role in this process of deciding what is or is not important or worth pursuing. He takes aim at instrumentalism, a view predominant among philosophers today, which holds that the goals of practical reasoning are basic in the sense that they are given by desires that are not themselves the product of practical reasoning. The view Millgram defends is "practical induction," a method of reasoning from experience similar to theoretical induction. What are the practical observations that teach us what to want? Millgram suggests they are pleasant and unpleasant experiences on the basis of which we form practical judgments about particular cases. By generalizing from these judgments--that is, by practical induction--we rationally arrive at our views about what matters. Learning new priorities from experience is necessary if we are to function in a world of ever-changing circumstances. And we need to be able to learn both from our own and from others' experience. It is this, Millgram contends, that explains the cognitive importance of both our capacity for pain and pleasure and our capacity for love. Pleasure's role in cognition is not that of a goal but that of a guide. Love's role in cognition derives from its relation to our trusting the testimony of others about what does and does not matter and about what merits our desire. Itself a pleasure to read, this book is full of inventive arguments and conveys Millgram's bold thesis with elegance and force. It will alter the direction of current debates on practical reasoning.

This Handbook provides new perspectives on humour from transdisciplinary perspectives. It focuses on humour as a resource from different socio-cultural and psychological viewpoints and brings together authors from different cultures, social contexts and countries. The book will enable researchers and practitioners alike to unlock new research findings which give new directions for contemporary and future humour research. By employing transdisciplinary and transcultural perspectives, the volume further discusses humour in regard to different cultural and political contexts, humour over the lifespan, in therapy and counselling, in pedagogical settings, in medicine and the workspace. The contributions also highlight the connections between humour and the COVID-19 pandemic and promise new inspiring insights. Researchers, practitioners and students in the fields of industrial and organisational psychology, positive psychology, organisational studies, future studies, health and occupational science and therapy, emotion sciences, management, leadership and human resource management will find the contributions highly topical, insightful and applicable to practice.